暗色调主义与戏剧性——一种视觉经验的生成  

Tenebrism and the Dramatic-The Production of a Visual Experience

作　　者：刘晋晋[1] Liu Jinjin

机构地区：[1]中央美术学院人文学院,北京100086

出　　处：《艺术探索》2025年第1期74-82,共9页Arts Exploration

摘　　要：暗色调主义的产生不是缘于神学或神秘学对黑暗的崇拜,而是画家对室内剧场舞台灯光效果的借鉴。19世纪早期,戏剧家、文学家建构出“戏剧性明暗对比”的概念。这一概念建立在语言的结构规则之上,与戏剧性或明暗对比本身的特征无关。当煤气灯运用于舞台照明后,强烈的光影效果消失。在这种视觉文化的转变中,戏剧家、文学家意识到过去舞台上强烈的明暗对比与戏剧性张力相似,从而把戏剧性当作明暗对比的特性。“戏剧性明暗对比”这一概念在20世纪后影响了艺术史写作和艺术批评,最终形塑了世人对于暗色调主义画风的认知。可以说,暗色调主义具有戏剧性是二百年来逐渐形成的视觉经验。Tenebrism did not stem from dark worship in theology or the Occult,but from the painter's imitation of the lighting in indoor theatres.It was through analogies between music and painting in the early 19th century that dramatists and literati created the metaphor of"dramatic chiaroscuro."This metaphor is based on the structural rules of language and has nothing to do with the nature of drama or chiaroscuro itself.The invention of the gas lamp in the 19th century brought about an unprecedentedly bright theatrical stage,which made the strong effect of light and shadow disappear.Stimulated by this shift,dramatists and literati took note of how the strong stage lighting effect in the past was similar to dramatic tension,thereby associating drama with chiaroscuro by metonymy.This concept influenced art history writing and art criticism after the 20th century,ultimately shaping the world's perception of tenebrism.It can be said that the dramatic nature of tenebrism is a visual experience that has gradually formed over two hundred years.

关 键 词：暗色调主义 明暗对比 卡拉瓦乔 舞台照明 隐喻 戏剧性 

分 类 号：J110.9[艺术—艺术理论]